The sound of car horns is imitated by fanfares on the trumpets and trombones. This motif will reappear at the violent actions of the tramps. One of the central motifs of the work is set forward in bar 3-a 6/8 rhythm in minor seconds. The score begins with an orchestral depiction of the "concrete jungle." The violins have rapidly rising and falling, wave-like scales over the very unusual interval of an augmented octave. With the Mandarin's longing fulfilled, his wounds begin to bleed and he dies. He leaps at the girl again, and this time she does not resist and they embrace. She tells the tramps to release the Mandarin they do. Suddenly, the girl knows what they must do. The lamp falls, plunging the room into darkness, and the Mandarin's body begins to glow with an eerie blue-green light. The tramps grab him again and hang him from a lamp hook. They stab him three times with a rusty sword he almost falls, but throws himself again at the girl. However, he continues to stare at the girl. The tramps leap on him, strip him of his valuables, and attempt to suffocate him under pillows and blankets. They struggle and she escapes he begins to chase her. Suddenly, he leaps up and embraces the girl. She begins another saucy dance, the Mandarin's passions slowly rising. The tramps urge the girl to lure him closer. The tramps hide, and the figure, a Mandarin (wealthy Chinese man), stands immobile in the doorway. The tramps and girl see a bizarre figure in the street, soon heard coming up the stairs. The girl goes to the window again and begins her dance. The dance grows more passionate, then the tramps jump him and throw him out too. This time she attracts a shy young man, who also has no money. The girl goes back to the window and performs a second lockspiel. The girl asks, "Got any money?" He replies, "Who needs money? All that matters is love." He begins to pursue the girl, growing more and more insistent until the tramps seize him and throw him out. She first attracts a shabby old rake, who makes comical romantic gestures. The girl begins a lockspiel - a "decoy game", or saucy dance. They then force a girl to stand by the window and attract passing men into the room. They search their pockets and drawers for money, but find none.
One act pantomime ballet composed by Béla Bartók between 1918-1924, and based on the story by Melchior Lengyel.Īfter an orchestral introduction depicting the chaos of the big city, the action begins in a room belonging to three tramps. Throughout the work, a mocking satire on the imperial Austrian national anthem, Gott erhalte Franz den Kaiser, is used in the form of a recurring leitmotif. He also added a number of his individual and original Hungarian features to it. The symphonic poems of Liszt and Strauss heavily influence the work, as Bartók borrows ideas from them to develop harmonies, chromatic progressions and for instrumentation.
The piece begins with Bartók sketching a portrait of his hero and ends with a funeral march, which was also arranged for piano by the composer. Although the work is written as a single movement, it is nonetheless complex in its orchestration, with ten interrelated movements or sections. Bartók has himself penned detailed commentaries on the score, etching out a programme and subjecting it to close thematic analysis. The symphonic poem was composed as a tribute to Hungarian politician Lajos Kossuth, hero of the Hungarian Revolution of 1848 and musically chronicles his failed attempt to win Hungary's independence from Austria in 1848-49. Symphonic poem composed by Béla Bartók inspired by the Hungarian politician Lajos Kossuth.
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